Tag Archives: print culture

October 6, 2025

Words or Pictures or Numbers?

By daseger

This post is about the work of a venerable but new-to-me graphic designer, Seymour Chwast, but before I get to him I have to explain how I got to him. If you have been reading the blog over the past year or so, you might have perceived that I have become mildly obsessed with two images associated with Salem: the official Salem City Seal with its Sumatran trader, now likely on its way out after 180 years or so, and more recently a cartoon cat mascot chosen by the Mayor of Salem and the Salem 400+ Committee to represent our city’s “unique identity” for our upcoming Quadricentennial. The discussion, and in the latter case lack thereof, over both images has been perplexing. I’ve written quite a bit about the seal, and was going to write more about the mascot, but I now realize that such efforts are a waste of time. These images, deemed rascist or representative or not, will stand or fall according to the whims of five or six or maybe 20 people at best. That’s how Salem works: the average person has very little power over matters of civic identity or branding (or anything else for that matter.) Nevertheless, it’s been so interesting exploring the power of images over the past year or so in various ways. As a Renaissance historian, I’ve always been aware of the complexity of images, but if you want to consider their power in the present, that brings you into the realm of graphic design, and so that brought me to Seymour Chwast, briefly. And then he popped into my consciousness again just last week when I was searching for an image of the Battle of Sluys for a powerpoint lecture on the Hundred Years War. The search led to a compelling image of a medieval naval battle which was not Sluys but rather Chwast’s depiction of the Battle of Zonchio in 1499, fought between Venice and the Ottoman Empire. This is just one of nine hand-colored linocut battle scenes, paired with literary quotes on the opposing page, included in Chwast’s 1957 folio A Book of Battles.

Chwast is in his 90s and still working, I think: his career is too prolific and illustrious to summarize here but I will take a stab. Over six decades he has published all sorts of images and illustrations, individually and on behalf of the Push Pin Studios (now Group) the graphic design firm he co-founded in the 1954. From magazine covers to posters to corporate advertising to packaging to theatrical backdrops to his own publications: he has done it all. Chwast is the author of 30 childrens’s books and four graphic novels, and he is also a typeface designer! Chwast’s career is marked by his intent and ability to utilize design as a political force on many occasions, and one theme seems to run through much of his editorial work from the beginning: pacifism. This was certainly the inspiration for his Book of Battles, as the juxtapositions of images and words make clear.

And then, in 2017, a capstone (or maybe not yet) anti-war book, At War with War: 5000 Years of Conquests, Invasions, and Terrorist Attacks. An Illustrated Timeline. More striking graphics and literary excerpts, but a timeline too, which means numbers. The (red) numbers somehow make the illustrations all the more menacing, especially as we proceed into the (modern?) information age in which casualties can be marked along with dates. It all packs a powerful punch.

1 Comment | tags: books, Branding, Graphic Design, Illustrations, Political Culture, print culture, Teaching | posted in Culture, Design

October 24, 2021

Teaching with Holbein

By daseger

A new exhibition featuring the works of Hans Holbein the Younger opened at the J. Paul Getty Museum this week, and it will be traveling to the Morgan Library and Museum after the new year. It happens that this very week Holbein was very much on my mind: various of his works had popped up, as they always do, in several of my classes, and he appears in reference and image in the proofs for my forthcoming book as well. I have always depended on Holbein: his images have enabled me to illustrate so many aspects and avenues of my teaching fields, from the Renaissance to the Reformation to the Scientific Revolution and everything in between. His 1533 masterpiece The Ambassadors is a visual key to all three topics, and I generally devote an entire class to it.

National Gallery, London.

I’m not that special: anyone armed with the essential knowledge of the era’s cultural history could turn The Ambassadors into a class: there’s just so much in it and to it! This particular painting is not included in the Getty exhibition, but each and every Holbein painting has a tale to tell, even if it’s just a singular portrait with (deceptively) little embellishment. I suppose Holbein is best known for his paintings of the Tudor Court, and the exhibition includes the portraits of Thomas Cromwell and Richard Southwell as well as one of my favorites, that of Mary, Lady Guildford, the wife of Henry VIII’s comptroller, Sir Henry Guildford. Holbein was a great painter of women in general, and “capturing their character” (the subtitle of the exhibition) in particular, but I do wonder why he chose the stern Lady Guildford rather than the more amused one captured in one of the studies for the portrait. In either case, you can easily see that both Lady Guildfords are far from the serene Renaissance ladies we generally see: they are feisty and fun.

Frick Collection, St. Louis Art Museum and Kunstmuseum Basel; The Getty Exhibition.

Of course, students love the gossipy history of Henry VIII and his six wives, of which at least two were painted by Holbein. Students love anecdotes, and Holbein allows you to illustrate them. But you’ve got to be careful: an anecdote can be a dangerous thing, remembered better than the larger issue/trend/event it is designed to illustrate. A case in point is the “story” behind Holbein’s portrait of Anne of Cleves, painted when he was dispatched to Germany to render a likeness as Henry was considering the Protestant princess for his fourth bride in 1539. The story goes that Holbein was so charmed by Anne that he made her more attractive than she really was, thereby convincing Henry to go along with the marriage by proxy only to declare “I like her not!” and seek an annulment the moment he laid eyes on her in England. I don’t think Holbein had time to be charmed by Anne, and we can see that he lavished more attention on her dress than her face in the portrait. In any case, Thomas Cromwell the courtier, diplomat, and by now manifest Protestant had far more influence over the German marriage, and he lost his head over it in the next year.

Jane Seymour (Kunsthistorisches Museum Wien), Anne of Cleves (The Louvre), and (perhaps) Katherine Howard (Royal Collection Trust).

The royal portraits are not included in the Getty exhibition, but there are several striking portraits of Tudor courtiers that I’m looking forward to seeing in person, including that of Southwell and an anonymous falconer or Portrait of a Gentleman with a Hawk. I also love Holbein’s portraits of merchants, who characterize his era in so many ways, and there are several in the exhibition though not my favorite, the Portrait of Georg Giese. It’s all in the details: Holbein enables us to grasp the practice of various endeavors with his little slips of papers, instruments and objects. He amplified the importance of literacy in his age as well as the ars nova of printing by including so many words in his paintings (so perfectly rendered: see Bonifacius Amerbach in the exhibition), engaging in printmaking himself, and designing printers’ devices and ornamental title pages. With Holbein we can also explore the roles of the Renaissance public intellectuals like Thomas More and Erasmus of Rotterdam, the latter represented in the exhibition by both Holbein’s portrait and the title page engraving by Albrecht Dürer based on it. All of this is fairly straightforward stuff: I haven’t even delved into the next layer of Renaissance symbolism, in lavish display in many of Holbein’s works. Layers and layers of images, words, and meanings.

Portrait of a Gentleman with a Hawk, Mauritshuis; Portrait of Georg Giese, Gemäldegalerie, Staatliche Museen zu Berlin; Bonifacius Amerbach and device of printer Johannes Froben, Kunstmuseum Basel; the exhibition catalog, Holbein: Capturing Character, edited by Anne T. Woollett.

7 Comments | tags: Art, Exhibitions, Getty Museum, Hans Holbein, print culture, Renaissance, Teaching, Tudors, Visual Culture | posted in Art, Culture

January 23, 2021

Under Cover in the Renaissance

By daseger

It’s a beautiful day here in Salem, but I’m in lockdown in my study, more than halfway through the very last chapter of my book! I am taking a break to show you some early modern masks, just because they are so wonderful. There is no material culture in my book: it’s all about information culture. But some of the instructive information I am coming across refers to very mundane matters like personal and household hygiene: one of my very favorite books is all about how to remove spots and stains from both precious and mundane fabrics, with dyeing advice if they won’t come out. Out, damned spot! Out, I say! This was of course a huge problem, as I am not dealing with a disposable society. Cleanliness was increasingly important for health reasons as well: sixteenth-and seventeenth-century people were living through constant pandemics of plague and various poxes and fevers, and while they knew nothing about germ theory, they had associated disease and squalidness. When they went outside, into the pestilential air, they covered up for protection if they could afford to: with hats, hoods, gloves and fans and yes, even masks. Everyone is now familiar with the beaked plague masks of the later seventeenth century, but this was just one, rather dramatic, form of early modern masks, which were also worn for “disguising,” for protection against the weather, for festivity, and for fashion. The most elaborate of fashionable early modern masks for women, the vizard or visard, which covered the entire face except for the eyes, seems to have had Italian origins, like so many fashions then (and now): when they began appearing in England, many commentators, especially of the Puritan disposition, were not impressed. In his Anatomy of Abuses (1583), Phillip Stubbes wrote: When they use to ride abroad they have invisories or visors made of velvet, wherewith they cover all their faces, having holes made in them for their eyes, whereout they look. So that if a man, that know not their guise before, should chance to meet one of them, he would think he met a monster or a devil, for he can see no face, but two broad holes against her eyes with glasses in them. Nevertheless, the household accounts of Queen Elizabeth’s reign list vizards among her purchases, and a century later, these “visors” were fashionable apparel for women of some means, who would wear them out and about, particularly when attending the theater. Samuel Pepys was so struck by one vizard-wearing lady at a performance that he went right out and bought a mask for his (long-suffering) wife. There are several digital sources for early modern apparel: I chose the images below from a late sixteenth-century album of costumes in watercolor at the Morgan Library and the “Friendship Album” (Album Amicorum) of a German Soldier in the collection of the Los Angeles County Museum of Art.

An Album of Costumes, Morgan Library.

Album Amicorum, LACMA.

Wenceslaus Hollar’s engravings of English women clothed for every season from the mid-seventeenth century illustrate the bit more utilitarian masks worn by women of means during the winter: many more Hollar images are at the Fisher Library at the University of Toronto and the Rijksmuseum, where I obtained these images—there is a new “Rijkstudio” where you can get creative with collection items; no time for that now, but later……..

Wenceslaus Hollar at the Rijksmusum.

1 Comment | tags: Clothing, Costumes, Fashion, print culture, Renaissance, Rijksmuseum, Seventeenth Century, Wenceslaus Hollar | posted in Culture, History

April 5, 2017

Wrong Impression

By daseger

I am absolutely fascinated by this c. 1780s mezzotint depicting the capture of Major John André which I recently found in the digital collections of the Winterthur Museum for several reasons: it is by a Salem artist, Samuel Blyth (1744-95), more primarily known for his heraldic paintings, musical instruments, and the fact that he was the older brother of the more prominent pastellist Benjamin Blyth(e), its naïve presentation, in which everyone looks strangely happy rather than surprised, and its lyrical title: Ye foil’d, ye baffled Brittons/This Behold nor longer urge your Pardons, Threats, or Gold; Seen in each virtuous Patriotic Zeal/ To save their country and promote its weal/ Disdaining bribes to wound a righteous Cause/ While ANDRE falls a victim to the laws.

Blythe print Winterthur

I am also interested in this image because it gets the essential detail of André’s capture—the fact that he was dressed in civilian clothes rather than a uniform, which led to his arrest, prosecution, and execution as a spy—wrong. The Major is clearly in uniform here, and the New York militiamen who captured him look a bit too “regular” as well. Contrast this with one of many depictions of the capture issued in the mid-nineteenth century, when everyone has their story–and image–straight (well nearly everyone: a Currier and Ives print somehow places George Washington in the scene). By that time, after Thomas Sully’s influential 1812 painting, André is uniformly uniform-less and boot-less, with the papers relating to the capture of West Point supplied by Benedict Arnold revealed.

Andre

Andre by Sully WAM Capture of Major John Andre by John Paulding, David Williams and Issac Vanwart, New York: Sowle and Shaw, 1845, Library of Congress; The Capture of Major André, Thomas Sully, 1812, Worcester Art Museum.

Could Blyth’s mezzotint be the first image of André’s capture? I can’t find an earlier one, and that would be yet another Salem “first” (and first impressions are often wrong). This would explain his mistaken details–although he certainly has the bribery attempt down. What is the source of his vision, and his copy: the Foil’d and Baffled Brittons? Was he carving out a future for himself in the emerging industry of patriotic publishing? Apparently earlier mezzotints of George and Martha Washington once attributed universally to Boston printmaker Joseph Hiller might have been the work of Blyth: these images cast a man who has been primarily associated with rather elitist creations in a new, populist light—a Revolutionary transition doubtless made by many American artists.

Holyoke Coat of Arms

Blythe collage Holyoke Family Coat of Arms, late eighteenth century, attributed to Samuel Blyth, Northeast Auctions; Lady Washington and His Excellency George Washington Esq., mezzotints after Charles Willson Peale, c. 1776-77, possibly Joseph Hiller or Samuel Blyth, Metropolitan Museum of Art.

6 Comments | tags: American Revolution, Auctions, print culture, printing, Salem Artists, Winterthur | posted in Art, History, Salem

March 29, 2017

The Ladies’ Miscellany, 1828-31

By daseger

To end Women’s History Month on a more pleasant note, I leafed through the digital pages of a short-lived Salem newspaper published for women by John Chapman from 1828 to 1831: the Ladies‘ Miscellany. I started with the question what did women want to read? but quickly determined that this was a query that I would not be able to answer, as most of the material in each edition seemed to be of a prescriptive nature: what women should read and do rather than what they might like to. There are long romantic/dramatic or edifying stories in every issue, along with poetry (a lot of odes to the seasons), little editorials about “women’s issues” culled from other American and English periodicals, and (the best part): events: strictly marriages and deaths, with the occasional ordination. No births, for some reason, although you would think this would be a popular topic. Reading the lines very randomly (which suits the nature of this publication: “miscellany” is an apt title), and reading between the lines, these are my main takeaways:

It is possible to be the perfect wife.
Mustard is an antidote for poison!
Success in life (or marriage) generally consists of finding the right regimen–and sticking to it.
Many young Salem men drowned by falling overboard ships in exotic places, or in Salem Harbor.
It is possible to illustrate the concept of division of labor many different ways using domestic items and tasks.
Corset mania was a major concern–but for whom? Certainly not for Mrs. Sally Bott, who was the Miscellany’s most consistent advertiser.
It’s nice to see this notice of the Salem Female Charitable Society, which was founded in 1801, incorporated in 1804, and is still in existence today!

Ladies Miscellany2

Ladies Miscellany Collage 1

LM Collage

LM Collage 2

LM collage 3

Corset collage

-SFCS collage

1 Comment | tags: ephemera, Newspapers, Nineteenth Century, print culture, Salem women, Women's History, Women's History Month | posted in History, Salem, Women's History

February 19, 2017

Ghosts of Presidents Past

By daseger

When a ghost appears, you know that something is not right: restless spirits always have a mission. Sometimes it is inspiration; sometime censure, but one always has to take notice. The relationship between the dead and the living depends on the historical context but in general, the former are often demanding something from the latter: prayers, respect, fortitude, compensation, correction. Medieval people were expected to compensate, in forms of religious ritual, for the premature, unexpected, and “bad” deaths of their dearly departed, while modern people are generally expected to learn from the spectres that haunt them, in one way or another: Dickens’ Christmas ghosts being prime examples. And then there are political ghosts, who have vast powers of assessment and judgement and can be utilized as a supreme moral compass: I don’t think it will be long before we see some of these spectral appearances! Looking through some digitized periodicals in preparation for my Presidents’ Day post last week, first very casually and then more intently, I came across quite a few presidential ghosts: Presidents Washington and Lincoln are clearly the most powerful (and summoned) apparitions, but they were not the only spirits roused from the dead because of compelling earthly concerns. In this first image from Punch (a periodical which utilizes ghosts to put forth its point of view fairly often) King George III asks George Washington what he thinks of his “fine republic” now (1863–in the midst of the Civil War), to which the President can only respond “humph!”.

presidential-ghost-washington-punch-1863

Punch, or the London Charivari, January 10, 1863.

This is an unusual presidential ghost sighting; usually we do not go to “Spirit-Land” (which appears to be populated with jellyfish as well as prominent people), spirits descend down to our realm. Much more common are these pair of cartoons commenting on the contentious election of 1884 between two scandal-ridden candidates: James G. Blaine and Grover Cleveland: The Honor of our Country in Danger (again, Puck) and The Honor of our Country Maintained (George Yost Coffin, “respectfully adapted” from the Puck cartoon). The assembled ghostly presidents Washington, Lincoln and Garfield (recently assassinated so at the height of his power) are clearly the monitors of “honor”, before and after the election. The narrow winner of this contest, Grover Cleveland, clearly needs all the spiritual guidance he can get, as the ghosts of his predecessors appear regularly throughout his term(s).

presidential-ghosts-1884-collage

presidential-ghost-cleveland

“Honor” cartoons relating to the presidential election of 1884, Library of Congress; “The Lesson of the Past”, Puck, July 1887: Lincoln inspires Cleveland to assert “I will not fail”.

Theodore Roosevelt inspires lots of ghostly visitations too, including a whole entourage of past presidents in Puck’s July 1910 cover cartoon: “Just Luck”. Washington, Lincoln, Jefferson and Jackson wonder how did we ever run the country without him? while observing an industrious Teddy by the light of the moon. A couple of years later, however, there is a more censorious visitation by Washington when Roosevelt rescinded his pledge not to run for a third term in 1912. This Washington looks positively Dickensian!

ghost-presidents

ghost-president-roosevelt

“Just Luck” cover, Puck, July, 1910; “Anti-Third-Term Principle” cartoon by Clifford Berryman, 1912, U.S. National Archives.

War-time presidents, or those on the verge of war, need lots of encouragement (as do nations), so the ultimate war-time president, Abraham Lincoln, appears behind Woodrow Wilson on the eve of World War I, and several decades later the latter returns the favor for Franklin Roosevelt. In the interim, we have a rare sighting of Warren G. Harding, wishing his successor Calvin Coolidge “Good Bye and Good Luck” and encouraging him to “write his own book”. This strikes me as a bit of over-reach for this device: did we really need to summon the ghost of Warren G. Harding?

presidential-ghosts-war-collage

presidential-ghost-wilson

7 Comments | tags: Abraham Lincoln, Art, Editorials, ephemera, George Washington, Graphic Design, holidays, politics, Presidents, Presidents' Day, print culture | posted in Culture, Current Events, History

February 15, 2017

Winter Dress

By daseger

Another distraction; it happens to me every time I venture into a digital archive. This time I was looking for Lutheran “cartoons” from the early sixteenth century, and somehow I ended up fixated on a critical caricature of women’s winter dress from a century later: Wie sich ein All’ modo Monsieur im Winter kleiden solle (1629). I’m not sure of the exact translation—how the German gentleman should dress in the winter? (help!)—but I can tell it is a comical critique, as the three women on the right are portrayed as dressing a bit too mannishly (the one in the middle is even wearing pants under her skirt!) and badly-behaving animals are never a good sign. Even though the men look like dashing cavaliers, there is something “off” about them too; I’ve got to dig in and try to translate the accompanying text. Clearly something is rotten in the state of Germany, and it’s not just the Thirty Years’ War. Women are an easy target in early modern print culture because of their dress, in all seasons really, but winter is even easier: one of the more effective satires of flimsy Regency dress is titled Parisian Ladies in their Winter Dress for 1800, reprinted countless times over the next decade.

winter-dress-german-1629-bm

winter-dress-1800 Wie sich ein All’ modo Monsieur im Winter kleiden solle (1629), and Parisian Ladies in their Winter Dress for 1800, collection of the British Museum.

The fashion plate dates from the eighteenth century and really thrives in the nineteenth; in these idealistic advertisements there is no judgemental “tone” even though some of the clothing appears almost as impractical as the garb above: light coats or little “mantlets” worn over the dresses of the day. Muffs can never be too big in the eighteenth century, or bustles in the later nineteenth.

winter-dress-london_dresses_winter_1799

winter-dress-1888

Fashion Plates from 1799 & 1888 in the collection of Claremont Colleges Digital Library.

The dashing, sporty but at the same time elegant “Winter Girl” emerges in the very last decade of the nineteenth century and first decades of the twentieth: cover girls on an array of contemporary magazines and cards. Just as idealistic as fashion plates, really, but more artistic.Two sides of this coin are below: a sporty girl from around 1906 and a very elegant Puck cover from 1911, along with “a slip of girl” cigarette card from 1901, because mockery is always in season.

winter-dress-1906-9

winter-dress-1911

winter-girl-1901-tobacco-card-nypl

Cover and cards, 1901-1911, New York Public Library Digital Collections.

2 Comments | tags: Art, British Museum, ephemera, Fashion, print culture, Seasons, Winter | posted in Design, History

December 23, 2016

Keeping Christmas

By daseger

Well, after all that immersion into Puritan anti-Christmas tracts I was doubting my own Christmas observances–powerful stuff! I’m pretty Protestant in my religious sentiments (though raised Episcopalian—on the fence) so there is something there that resonates with me, plus I’ve been teaching Reformation history for 20+ years! So I thought I would go back to the ultimate source (well, after the bible), Martin Luther, and see what he thought about Christmas. Next year, coming fast, is the 500th anniversary of Luther’s 95 Theses and the commencement of the Reformation, so I have a stack of timely publications by my bedside to consult, but the best source by far was an older compilation, Martin Luther’s Christmas Book, edited by the eminent Reformation historian Ronald Bainton. It is very clear from this collection of Luther’s sermons that he was no Puritan, and some of his most inspiring words were written about the Nativity. Luther does not tell us how to celebrate this event, but given his exuberance at Christmas time, combined with his natural hospitality (offered through his wife Katharina, who regularly had visitors at her table in addition to their six children and assorted hangers-on), we can imagine that he would not condemn a festive observance of the holiday. Three centuries later, the German artist and illustrator Carl Schwerdtgeburth created an image of Luther and his family with a Christmas tree in their midst, an image that went viral just at the time that the Christmas we know and love was created. There is no historical basis for this image, but it was disseminated so far and widely in its time–and even more so in ours–that the legend of Luther’s Christmas tree will never die.

martin-luther-christmas-book

keeping-christmas-luther-wheat-sheaf

The nineteenth century interprets the sixteenth: Carl Schwerdtgeburth’s popular print of Luther and his (lit) Christmas tree, courtesy of the American Antiquarian Society.

While all Protestants sought to reduce the power of the saints by disdaining the observance of traditional Feast Days, Christmas was an exception for Luther (and even for Calvin, though not for all Calvinists–the Puritans a notable case in point) who clearly perceived it not only as a day that rightly focused on Christ but also as a social holiday. There is a liberation and a joyousness in Lutheran theology–attained only through God’s gift of grace in return solely for faith–that can support all sorts of festivity: for if you possess faith your heart cannot do otherwise than laugh for joy in God, and grow free, confident and courageous. For how can the heart remain sorrowful and dejected when it entertains no doubt of God’s kindness to it, and of his attitude as a good friend with whom it may unreservedly and freely enjoy all things. Such joy and pleasure must follow faith; if they are not ours, certainly something is wrong with our faith (2nd Christmas sermon, 1522). This is only one small passage of a much longer sermon, but I think it’s representative–and a great antidote to all those dour Puritan tracts!

I’ve always been a bit concerned that the joy and pleasure that I experience during the Christmas season is too materialistic–not focused on gifts per se but rather on the “trimmings” of the season: lights, decorations, trees, wreaths, food, drink, stuff. But this year I’m given myself license to “unreservedly and freely enjoy all things”. Luther’s Christmas tree might be the stuff of lore and legend, but I don’t think he would have any problem with decking the halls.

“Keeping Christmas” in Salem, 2016–my favorite trimmings: a beautiful Italianate house (which has been going through an extensive restoration) all dressed up for the season, wreaths, wreaths, wreaths, downtown lights, and Paxton’s perfect window.

keeping-christmas-italianate

keeping-christmas-wreath-1 keeping-christmas-collage

keeping-christmas-assemble-house2

Downtown lights.jpg

keeping-christmas-window

I’m not hosting Christmas this year, so I instead of the usual HUGE tree I went for two smaller potted ones, because I hate seeing trees die. The mantles and bookcases have the usual creature compositions, including mice, deer, foxes, elephants, rabbits, and a lone giraffe.

keeping-christmas-window-with-trinity

keeping-christmas-interiors

keeping-christmas-mice-mantle

keeping-christmas-animals

keeping-christmas-presents

And hedgehogs from medieval manuscripts for my gift tags: they supposedly rolled on the ground to collect grapes for their young, making them look quite Christmassy. Merry Christmas, everyone!

3 Comments | tags: Architecture, Christmas, Christmas Decorations, holidays, Interiors, Martin Luther, print culture, Reformation | posted in Culture, History, Salem

April 30, 2016

Searching for a Spring Wine

By daseger

May–my favorite month of the year, representing the end of the school year, high time for gardening, that perfect shade of soft spring green, my anniversary, and a kind of wistful merriment which is actually more academic than experiential–because I’m generally too busy in May to engage in such merriment. But I always feel like the need to find a celebratory drink to toast to the spring, and the summer to follow. The traditional beverage is May Wine (Maiwein), which I have made on several occasions: a sweet white wine infused with sweet woodruff and a few other additions. My sweet woodruff has yet to really appear, much less bloom, so I don’t think that’s going to work this year. So I went backwards in time and beverage books looking for something new/old, beginning with George Edwin Roberts’ Cups and their Customs (1863), which has a fantastic title page but not much else.

Spring Wine Cups and Their Customs

Then I went way back to the sixteenth century and a favorite “receipt” book, Thomas Dawson’s The Good Huswife’s Jewell (parts one and two): here there are medicinal waters but nothing to accompany May merriment. In the Elizabethan age, that would be left to a host of imported wines, I think: malmsey, sack, claret, canary, brandy. Heavy, sweet wines which are not appropriate for Spring in any case. Jump forward to the mid-seventeenth century and a trio of popular “celebrity” cookbooks featuring the recipes of Charles I’s exiled and widowed Queen Henrietta Maria, ostensibly penned by her personal chef: The Queens Closet Opened. Being Incomparable Secrets in Physick, Chyrurgery, Preserving, Candying, and Cookery, A Queen’s Delight; or, the Art of Preserving, Candying and Cookery, and The Compleat Cook, all first appearing in 1655. I looked through a later, lovely digitized edition of A Queen’s Delight at the Beinecke Library at Yale and found several fruity “country wines”: raspberry looks good, “water of time for the passion of the heart” interesting.

Queens Delight Yale Bodleian Cover

Queens Delight Yale Bodleain

Queens Delight Yale Bodleain 2

Queens Delight 5 Yale

Over the course of the seventeenth century, Englishmen (and women too, I assume) were realizing that their dependence on imported foreign wines was not in their personal or national interests and searching for domestic substitutes. A succession of tracts appeared encouraging the planting of orchards and providing recipes for cider, perry, and a host of fruit wines. One of the most influential of these publications was John Worlidge’s Vinetum Britannicum: Or, a Treatise of Cider, and Such other Wines and Drinks that are extracted from all manner of Fruits Growing in this Kingdom (1676). As its title page illustration suggests, this is a rather practical publication: I really don’t have the inclination to make cider but perhaps I could buy some and doctor it up?

Spring Wine Folger

Worlidge

So that idea brought me to one of my favorite modern books: Amy Stewart’s The Drunken Botanist. The Plants that create the World’s Great Drinks. Two of Stewart’s recipes could be candidates for my “toast to spring” drink: cider cup, an adapted version of medieval dépense made by combining hard cider with fruits and ginger beer (or ale), and Kir Normand, in which crème de cassis is mixed with cider. Or I could just pick up one of Salem’s own Far from the Tree ‘s seasonal ciders and leave it at that!

Drunken Botanist

Cider Collage

Buy Local; or Why invent the Wheel?

Leave a comment | tags: books, Food and drink, n, Nature, print culture, Seasons, Shopping | posted in Home, Salem

April 28, 2016

Lincoln’s Laboratory

By daseger

I’ve been digging around in bins and folders for scraps of paper for as long as I can remember, and I do recall one item that caught my attention years ago: it was an envelope with a still-bright print of Abraham Lincoln depicted as some sort of wizardly chemist, an alchemist, I also recall thinking, in the midst of a rather wordy laboratory. It had a sticker marked $5 on it which struck me as quite steep at that time. Now I see that this same envelope fetched $2600 at a recent auction! The envelope, produced by the Salem stationery and publishing firm of G.M. Whipple and A.A. Smith (1860-1875), has become a highly-coveted example of Civil War propaganda, and I clearly missed out.

Union Alchemist

Whipple and Smith were not only showing their colors; they were marketing a relatively new product: the envelope itself. Before 1851 U.S. postage was charged by the sheet, so people simply folded their letters with sealing wax and mailed them off. In that year a flat postage rate was introduced for mail under a half-ounce and traveling less than 3,000 miles, so protective “covers” were introduced, which became patriotic covers a decade later. More than 10,000 embellished envelopes were produced in the North during the Civil War, much less in the South. They became collectible items even during that time, as many survive unaddressed—like the one I saw some time ago and those below. I can see why the “Union Alchemist” envelope is coveted today: its image and message is a bit more intricate than the majority of pro-Union covers I have seen–many featuring Jefferson Davis swinging from a rope (actually he is there, in the upper left-hand corner, in a specimen jar, next to General Beauregard).

Union Alchemist 3

Lincoln is writing prescriptions in a laboratory full of his distillations, including pure refined national elixir of liberty and metallic soap for erasing stains..for the southern market; he is not only the Great Emancipator (and the Great Distiller) but also the renowned rebel exterminator. It’s such a great image and item: what was I thinking years ago when I passed it by? I’ve found quite a few more in auction and historical archives, but none available, for $5 or $500: this is definitely one that got away, but I did catch a Salem octopus!

Lincoln Envelope Hakes Auctions

Lincoln's Laboratory PMA

Union Alchemist 2

Union Alchemist 5 Cowans

Union Alchemist 8

Union Alchemist Bangor

Civil War Cover

Whipple & Smith’s “Lincoln’s Laboratory or the Union Alchemist” covers, from Hake’s Americana & Collectibles, The Helfand Collection at the Philadelphia Museum of Art, The John A. McAllister Collection at the Library Company of Philadelphia, Cowan’s Auctions, PBA Galleries, and the Bangor Historical Society.